Mia madre mi parlava sempre di lei!!!!! Un usignolo!! Quando la ascolti ( con un Toscanini “ furente “) ne resti incantato. Oserei dire INSUPERABILE!!!!!
For this lapsed Catholic I know what always stirs the deepest sinews round my soul-and it is always Verdi’s Messa da Requiem. Tebaldi is exquisite, haut de gamme!
So much is made of Tebaldi’s late struggles. It is good to be reminded that in her youthful prime she was surely one of the greatest singers of whom we have any record.
@@ransomcoates546 you wrote tto much nonsense things about Renata Tebaldi in internet, I invite you to retire of writing about opera, you know very little about singing
@@evangelizadordeoperafans7133 How kind! I fear the radical Tebaldiani do become a bit defensive in their attitudes. Did you hear her in the theater, by the way?
@@ransomcoates546 Who do you want to run to telling me if I saw her in the theater? Did you see Caruso and Ponselle? Is it necessary to have seen Schipa or Ruffo or Gigli in the theater to know who are the great singers and the bad singers? I don't need to have seen Tebaldi in the theater because from her recordings I can hear that she is the best because of how she sings and because of her voice. And Tebaldi is one of the most scrupulous singers who retired with the "sound" of her voice intact and with her technically well-studied voice (as evidenced by her last complete opera recording Un ballo in maschera from 1970, with all the notes). without reaching "struggles" or painful things like Caballé, Scotto, Ricciarelli, Callas, Rysanek, Varnay, De Los Angeles and many more have done.
La Gran soprano Renata Tebaldi con su esplendorosa voz, interpreta excepcionalmente el "Liberame " de la Misa de Requiem de Verdi, con la Orquesta del Teatro Alla Scala de Milán, dirigida del eximio Arturo Toscanini. Es es una "JOYA INSUPERABLE" para los melómanos. GRACIAS RENATA ERES ESTUPENDA.
Toscanini effettivamente in una lettera ad un'amica si dichiarò insoddisfatto, ma di se stesso, immalinconito e perplesso per qualche attimo di vuoto nella sua proverbiale memoria. Va detto, però, che l'orchestra lo aveva seguito senza problemi e nessuno del pubblicò se ne avvide....
In effetti ci furono nel corso dell'esecuzione delle vistose sbavature orchestrali (Tuba mirum ad es.), oltre ad un paio di acuti fuori tono di Cloe Elmo (grande contralto, ma dalla voce molto accorciata in alto rispetto agli esordi), che non poterono non irritare il maestro. Ovviamente questo nulla toglie alla storicità dell'esecuzione e alle prestazioni di Prandelli e Siepi, per non parlare della Tebaldi, che supera se stessa (e probabilmente tutte le altre).
Highly dramatic interpretation by Toscanini. The young Tebaldi manages well here: the pitch on the famous pianissimo Bb at 07:55 wavers a bit (oh how sopranos must dread this exposed note without the orchestra to cover them!) but she sustains the high C6 at 12:08 fearlessly.
@@claudemichaud6966 It totally would have suited Callas. This was late Verdi, as was Aida. The first soprano to sing the requiem was also the original Aida. Maria Callas was a phenomenal Aida. Very similar parts, vocally speaking. So absolutely, Callas would have been great in this piece!
@@artdanks CALLAS DID NOT SING MANY AIDAS IN HER CAREER.....THOUGH I AM SURE SHE WOULD SING IT BEAUTIFULLY. THE REQUIEM WOULD ALSO HAVE SOUNDED GREAT SO I FIRMLY BELIEVE THAT CALLAS WOULD NOT DO IT....BECAUSE SHE PROBABKY HEARD TEBALDI PERFORM IT ......AND SHE DECIDED BEST TO STAY AWAY... TEBALDI HERE IS SUPERHUMAN THE DEEP EMOTION AND SPIRITUAL SPONTENAITY IS OVERWHELMING.
@@luigicorvi1661 Tebaldi does do a magnificent job here. I am not trying to at all take away from that fact. But I hardly think that would have stopped Callas from doing this. She did not consider Tebaldi to be a threat any more than Tebaldi thought Callas was. They were both magnificent artists, and very different from each other. As it should be.
NO YOU MISUNDERSTAND ME. RENATA WOULD NOT SING NORMA AND MANY OTHER ROLES BECAUSE SHE FELT THAT OTHER SINGERS WERE ABLE TO DO FAR MORE THAN HER WITH THOSE ROLES......IT WASN'T JUST RESPECT . .IT WAS SINCERE REALISATION OF HER LIMITATIONS.......WHICH ONLY THE INDIVIDUAL HIM OR HERSELF KNOWS ABOUT.! EG.....RENATA RECORDED BUTTERFLY TWICE BUT WAITED UNTIL 1959 TO SING IT ON STAGE......ALSO FANCIULLA ONLY WENT ON STAGE IN 1970 AT THE MET..... ....RENATA KNEW HER LIMITATIONS EVEN IF WE WHO WATCHED AND LISTENED THOUGHT SHE HAD NONE.... I AM SURE CALLAS MAY NOT HAVE SUNG THE REQUIEM FOR JUST THE SAME REASONS.
ignorante, o dó de Tebaldi não é baixo, o dó de Tebaldi é perfeito, não tem vibrações irregulares, o dó de Callas é sempre feio, dançante, de cor clara, estridente
Renegado brasileiro, devia ter vergonha. O público do Theatro Municipal do Rio delirou com a voz de Tebaldi, e a voz de Callas não impressionou ninguém em seu país. Callas não fez sucesso no Brasil porque sua voz não valia nada comparada à voz de Tebaldi. Tebaldi tinha 2 vezes a voz de Callas
Tebaldi sounds perfectly splendid here
Forse la più bella interpretazione verdiana di Renata Tebaldi! Nessun'altro soprano é arrivato in questa partitura a questo livello di misticismo....
Assolutamente si!
Toscanini, and Tebaldi...went to heaven with out having to die!
Mia madre mi parlava sempre di lei!!!!!
Un usignolo!! Quando la ascolti ( con un Toscanini “ furente “) ne resti incantato. Oserei dire INSUPERABILE!!!!!
Renata canta la Redenzione e la Misericordia di Dio da cui ha avuto la sua miracolosa voce
Che tu sia benedetta, hai portato bellezza e gioia a tutti
Divine voice. Such an amazing singer.
Assoluta !
For this lapsed Catholic I know what always stirs the deepest sinews round my soul-and it is always Verdi’s Messa da Requiem. Tebaldi is exquisite, haut de gamme!
COME BACK it is LENT 2024 COME BACK
La más grande soprano de todos los tiempos. Un Amor de Mujer.
Disputada por los mejores Teatros del mundo.
Desde Costa Rica
13/06/22
La Tebaldi est sublime comme toujours 👏👏👏👏
Magnifica.... Voce ideale.. L'unica che rende giustizia a questa imponente partitura...
Je n'ai pas de mots pour exprimer mon emotion et mon admiration ❤❤❤
C’è un soprano che va per la maggiore che , se è vero, dice di essere la nuova Renata Tebaldi!
Neanche se ti ubriachi cara!
Scusa la curiosità. Chi è questa signora in pieno delirium tremens? Grazie
impeccable! what a voice
So much is made of Tebaldi’s late struggles. It is good to be reminded that in her youthful prime she was surely one of the greatest singers of whom we have any record.
podes dejar de hablar forradas infeliz
@@evangelizadordeoperafans7133 What is ‘unhappy’? Perhaps you could write in Italian; sorry I don’t know Spanish (no operas).
@@ransomcoates546 you wrote tto much nonsense things about Renata Tebaldi in internet, I invite you to retire of writing about opera, you know very little about singing
@@evangelizadordeoperafans7133 How kind! I fear the radical Tebaldiani do become a bit defensive in their attitudes. Did you hear her in the theater, by the way?
@@ransomcoates546 Who do you want to run to telling me if I saw her in the theater?
Did you see Caruso and Ponselle? Is it necessary to have seen Schipa or Ruffo or Gigli in the theater to know who are the great singers and the bad singers?
I don't need to have seen Tebaldi in the theater because from her recordings I can hear that she is the best because of how she sings and because of her voice.
And Tebaldi is one of the most scrupulous singers who retired with the "sound" of her voice intact and with her technically well-studied voice (as evidenced by her last complete opera recording Un ballo in maschera from 1970, with all the notes). without reaching "struggles" or painful things like Caballé, Scotto, Ricciarelli, Callas, Rysanek, Varnay, De Los Angeles and many more have done.
Que voz tan bonita y bien timbrada ¡ideal y maravillosa! para El Requiem de Verdi.👏🏻👏🏻👏🏻👌🏻❤️👍🏻👏🏻👏🏻👏🏻👏🏻
Grande Tebaldi interpretazione senza mai più uguali
Brava Diva eterna Renata Tebaldi!
La Gran soprano Renata Tebaldi con su esplendorosa voz, interpreta excepcionalmente el "Liberame " de la Misa de Requiem de Verdi, con la Orquesta del Teatro Alla Scala de Milán, dirigida del eximio Arturo Toscanini. Es es una "JOYA INSUPERABLE" para los melómanos. GRACIAS RENATA ERES ESTUPENDA.
Alte vette, mistiche e vocali 🌹
Grazie a chi ha caricato questa perla🥰grazie grazie🙏 che meraviglia fatto cosi il requiem… molto sentito
This Tebaldi/Toscanini recording is a classic.
Bellissimo, grazie|
Magnifica!
Esecuzione stupenda, irresistibile .....e pare che Toscanini non fosse del tutto soddisfatto!
Toscanini effettivamente in una lettera ad un'amica si dichiarò insoddisfatto, ma di se stesso, immalinconito e perplesso per qualche attimo di vuoto nella sua proverbiale memoria. Va detto, però, che l'orchestra lo aveva seguito senza problemi e nessuno del pubblicò se ne avvide....
In effetti ci furono nel corso dell'esecuzione delle vistose sbavature orchestrali (Tuba mirum ad es.), oltre ad un paio di acuti fuori tono di Cloe Elmo (grande contralto, ma dalla voce molto accorciata in alto rispetto agli esordi), che non poterono non irritare il maestro. Ovviamente questo nulla toglie alla storicità dell'esecuzione e alle prestazioni di Prandelli e Siepi, per non parlare della Tebaldi, che supera se stessa (e probabilmente tutte le altre).
Affrontare una partitura del genere nel modo in cui lo fa la Tebaldi, ha dell'eroico.
Brava, Diva!
Thank you.
indeed the best
This is the one. Nothing else to say. Nothing else to listen to after this. Bravissima!
Un ange tragique
Brava!
DIVINA!!!!
Superbe
divina .
In una partitura tempestata di segni dinamici che cambiano da una battuta all’altra.
@@80Mrmirko
Parole sante!
В этой записи всё совершенно, и хор, и оркестр, и особенно голос Тебальди звучит просто потрясающе. Это настоящее "Liberа me"
Renata, la voz de un ángel como dijera Toscanini, suave, bella, potente, limpia, incomparable.
One if the best!!!!
Люблю.
❤❤❤
Quanto Toscanini c'è in questa interpretazione della Tebaldi...
Senza termini di paragone
Highly dramatic interpretation by Toscanini. The young Tebaldi manages well here: the pitch on the famous pianissimo Bb at 07:55 wavers a bit (oh how sopranos must dread this exposed note without the orchestra to cover them!) but she sustains the high C6 at 12:08 fearlessly.
Stupenda …Toscanini…! ❤
''Libera me'' il movimento più ispirativo del Requiem, la preghiera di liberazione dalla morte eterna...
ALABADO SEA JESUCRISTO
The choir sopranos help Mme Tebaldi with the high C in climax. Why?
Tão linda e perfeita foi a interpretação de Zinka Milanov, também com Toscanini !!!!
La voce piu bello del secolo. Solo la Te Kanawa era forse eguale.
Господи, что за спешка? кто за кем гонится? Почему так быстро?
Maria Callas è per me insuperabile ma la Tebaldi nella messa da requiem è al di sopra di ogni critica....stupenda interpretazione davvero sublime
Callas insuperabile propaganda si, ma Callas voce ? hahahaha
Господи, что за спешка? кто за кем гонится? Оркестр с хором не вместе, всё шатается .
3...2...1... What about Callas?!? 🤦♂️ 🤦♂️ 🤦♂️
Toscanini dicit
Too bad Maria Callas never performed this. It would have been amazing.
Callas could not have sung this, will not suit Callas.
@@claudemichaud6966 It totally would have suited Callas. This was late Verdi, as was Aida. The first soprano to sing the requiem was also the original Aida. Maria Callas was a phenomenal Aida. Very similar parts, vocally speaking. So absolutely, Callas would have been great in this piece!
@@artdanks CALLAS DID NOT SING MANY AIDAS IN HER CAREER.....THOUGH I AM SURE SHE WOULD SING IT BEAUTIFULLY.
THE REQUIEM WOULD ALSO HAVE SOUNDED GREAT SO I FIRMLY BELIEVE THAT CALLAS WOULD NOT DO IT....BECAUSE SHE PROBABKY HEARD TEBALDI PERFORM IT ......AND SHE DECIDED BEST TO STAY AWAY...
TEBALDI HERE IS SUPERHUMAN
THE DEEP EMOTION AND SPIRITUAL SPONTENAITY IS OVERWHELMING.
@@luigicorvi1661 Tebaldi does do a magnificent job here. I am not trying to at all take away from that fact. But I hardly think that would have stopped Callas from doing this. She did not consider Tebaldi to be a threat any more than Tebaldi thought Callas was. They were both magnificent artists, and very different from each other. As it should be.
NO YOU MISUNDERSTAND ME.
RENATA WOULD NOT SING NORMA AND MANY OTHER ROLES BECAUSE SHE FELT THAT OTHER SINGERS WERE ABLE TO DO FAR MORE THAN HER WITH THOSE ROLES......IT WASN'T JUST RESPECT . .IT WAS SINCERE
REALISATION OF HER LIMITATIONS.......WHICH ONLY THE INDIVIDUAL HIM OR HERSELF KNOWS ABOUT.!
EG.....RENATA RECORDED BUTTERFLY TWICE BUT WAITED UNTIL 1959 TO SING IT ON STAGE......ALSO FANCIULLA ONLY WENT ON STAGE IN 1970 AT THE MET..... ....RENATA KNEW HER LIMITATIONS EVEN IF WE WHO WATCHED AND LISTENED THOUGHT SHE HAD NONE....
I AM SURE CALLAS MAY NOT HAVE SUNG THE REQUIEM FOR JUST THE SAME REASONS.
A Tebaldi sempre com o dó baixo…mesmo nova
ignorante, o dó de Tebaldi não é baixo, o dó de Tebaldi é perfeito, não tem vibrações irregulares, o dó de Callas é sempre feio, dançante, de cor clara, estridente
Renegado brasileiro, devia ter vergonha. O público do Theatro Municipal do Rio delirou com a voz de Tebaldi, e a voz de Callas não impressionou ninguém em seu país. Callas não fez sucesso no Brasil porque sua voz não valia nada comparada à voz de Tebaldi. Tebaldi tinha 2 vezes a voz de Callas